* Worst Credit Line: The 1929 version of William Shakespeare's The Taming of the Shrew, " with additional dialogue by Sam Taylor ".

Their lively version of Shakespeare's The Taming of the Shrew ( 1967 ), directed by Franco Zeffirelli, was a notable success.

In Shakespeare's Taming of the Shrew, the schoolmaster who pretends to be Lucentio's father, Vincentio, is from Mantua.

Padua is the setting for most of the action in Shakespeare's The Taming of the Shrew.

Over the course of the next three years, four plays with their name on the title page were published ; Christopher Marlowe's Edward II ( published in quarto in July 1593 ), and Shakespeare's Titus Andronicus ( published in quarto in 1594 ), The True Tragedy of Richard Duke of York ( published in octavo in 1595 ) and The Taming of a Shrew ( published in quarto in May, 1594 ).

" Kate, Bianca, Ruth and Sarah: Playing the Woman's Part in The Taming of the Shrew " in M. J. Collins ( editor ), Shakespeare's Sweet Thunder: Essays on the Early Comedies ( Newark: Associated University Presses, 1997 ), 176 – 215

" Shakespeare's Part in The Taming of the Shrew, PMLA, 5: 2 ( March, 1890 ), 201 – 278

* "' Caparisoned like the horse ': Tongue and Tail in Shakespeare's The Taming of the Shrew ", by LaRue Love Sloan ; Early Modern Literary Studies, 10: 2 ( September, 2004 ), 1 – 24.

It was named after the sister of Katherine in Shakespeare's play The Taming of the Shrew.

In Shakespeare's time it was common practice for the wife to be submissive, as expressed in The Taming of the Shrew.

On stage, she had roles of varying importance in Frank Wedekind's Pandora's Box, William Shakespeare's The Taming of the Shrew and A Midsummer Night's Dream as well as George Bernard Shaw's Back to Methuselah and Misalliance.

He did not really pick up his rate of output until the 1920s, when he wrote Das Himmelskleid ( 1925 ) and Sly ( 1927 ), the latter based on William Shakespeare's The Taming of the Shrew.

Walter Sickert painted Edith Evans as Katharina, the lead character in Shakespeare's romantic comedy, The Taming of the Shrew.

* John Lacy – Sauny the Scot, or the Taming of the Shrew ( adapted from Shakespeare's play )

In April 1996 Geraint appeared as Petruchio in Shakespeare's The Taming of The Shrew, directed by Patrick Tucker of the Original Shakespeare Company.

Three of Shakespeare's plays are set in Verona: Romeo and Juliet ; The Two Gentlemen of Verona ; and The Taming of the Shrew.

In 1976 he wrote It ’ s Showdown Time, a raucous adaptation of William Shakespeare's The Taming of the Shrew.

* In the 1999 film 10 Things I Hate About You, a modern adaptation of Shakespeare's Taming of the Shrew, main character Katarina Stratford ( Julia Stiles ) desires to attend Sarah Lawrence against her father's wishes.

The film, a modernization of Shakespeare's The Taming of the Shrew, is titled after a poem written by the film's female lead ( played by Stiles ) to describe her bittersweet romance with the male lead ( played by Ledger ).

The term gamut was adopted from the field of music, where it means the set of pitches of which musical melodies are composed ; Shakespeare's use of the term in The Taming of the Shrew is sometimes attributed to the author / musician Thomas Morley.

* Bianca Minola, from William Shakespeare's play The Taming of the Shrew

* 11 The Taming of the Shrew * – typeset from Shakespeare's " foul papers ," somewhat annotated, perhaps as preparation for use as a prompt-book.

He attended Louisiana Tech on a music stipend for two years before transferring to Berea College in Berea, Kentucky, where he performed for the first time on stage as Petruchio in a production of Shakespeare's The Taming of the Shrew.

The Batjac Production is loosely based on Shakespeare's The Taming of the Shrew.

Kier Elam has traced Shakespeare's Italian idioms in Shrew and some of the dialogue to Florio's Second Fruits, a bilingual introduction to Italian language and culture published in 1591.

Kier Elam posits a date of 1591 as a terminus post quem for the composition of the Folio text of The Shrew, based on Shakespeare's probable use of two sources published that year.

The debate regarding the relationship between the two plays began in 1725, when Alexander Pope incorporated extracts from A Shrew into The Shrew in his edition of Shakespeare's works.

" Character names are changed, plot points are altered ( Kate has two sisters for example, not one ), the play is set in Athens instead of Padua, Sly continues to comment on events throughout the play, and entire speeches are completely different ( lines from other plays are also found in A Shrew, especially from Marlowe's Tamburlaine ), all of which suggests that the author / reporter of A Shrew thought he ( or she ) was working on something different to Shakespeare's play, not simply transcribing it.

Duthie argued that A Shrew was a memorial reconstruction of Ur-Shrew, a now lost play upon which Shakespeare's The Shrew was based ; " A Shrew is substantially a memorially constructed text and is dependent upon an early Shrew play, now lost.

Championing the bad quarto theory, Ann Barton says, A Shrew is " now generally believed to be either a pirated and inaccurate version of Shakespeare's comedy or else a " bad quarto " of a different play, now lost, which also served Shakespeare as a source.

However, she notes that many critics have rejected the idea of A Shrew being a work of Shakespeare's, subscribing instead to the bad quarto theory.

Miller argues that Alexander's suggestion in 1969 that the reporter became confused, and introduced elements from other plays is unlikely, and instead suggests an adapter at work ( whom he refers to as the ' compiler '), writing in the romantic comedy tradition ; " the most economic explanation of indebtedness is that whoever compiled A Shrew borrowed the lines from Shakespeare's The Shrew, or a version of it, and adapted them.

This means that in the early 1590s there were at least three versions of the same play in circulation: Shakespeare's original The Shrew, Shakespeare's edited The Shrew, and A Shrew.

The most successful adaptation was David Garrick's Catharine and Petruchio, which was introduced in 1756 and dominated the stage for almost two centuries, with Shakespeare's play not returning until 1844 in England and 1887 in the United States, although Garrick's version was still being performed as late as 1879, when Herbert Beerbohm Tree staged it.

Another operatic version came in 1828, when Frederic Reynolds adapted Garrick's Catherine and Petruchio, adding an overture by Rossini and songs from Shakespeare's plays and sonnets set to music by tenor John Braham and T. Cooke.

However, this was an adaptation of Garrick's Catharine and Petruchio, not Shakespeare's original text.

In a 2004 adaptation of Shakespeare's The Taming of the Shrew, Petruchio is given the ( fictitious ) title of the Earl of Chalbury.

Although best known for his work in costume dramas, Sewell prefers " cravat-less " roles in modern pieces, such as the role of Petruchio in the BBC's 2005 version of Shakespeare's The Taming of the Shrew.

* A popular WWII version of Shakespeare's The Taming of the Shrew directed by Anne McNaughton and featuring a dashing and handsome young John Callahan, who later went on to a successful television career, as Petruchio.

Petruchio ( an anglicisation of the Italian name Petruccio ; ) is the male romantic lead in Shakespeare's The Taming of the Shrew ( c. 1590 – 1594 ).

Thus, John Dryden, among many others, compares the " irregular " Shakespeare with the " regular " Ben Jonson in his Essay of Dramatick Poesie ( 1668 ), and makes use of the unity of time in this passage criticizing Shakespeare's history plays:

* An article from the academic journal Explicator which compares " Porphyria's Lover " and " My Last Duchess " to Shakespeare's Othello and interprets both as critiques of male sexual possessiveness.

McCrea compares Florio's own poetry to Shakespeare's, observing that " Reading Shakespeare alongside Florio makes one painfully aware of how beautiful and poetic even the two dedications to Southampton are, and how prosaic and fundamentally different is Florio's mind.

Baker compares it to Shakespeare's Winter's Tale or The Tempest: not a major work, but one with an " elegiac " tone.

He emphasised that Shakespeare was capable of both brilliance and banality, a point made humorously in his late puppet play Shakes versus Shav, in which he compares Shakespeare's work to his own.

Othello also famously compares his hatred for Desdemona as being full of " aspics ' tongues " in Shakespeare's play Othello.